Children's Theatre My Journal - Children's Theatre (2005) Week Fourteen

'Once in a great while, we are privileged to experience a television event so extraordinary, it becomes part of our shared heritage. 1969: Man walks on the moon. 1971: Man walks on the moon...again. Then for a long time nothing happened. Until tonight.' [i]

'...Out of the blue! They came and pounced! And they announced, announced, announced...What'd they say!? Crap!'

That was great! It is so nice to get the first performance over and done with. I found it interesting for a number of reasons, one of which being my ability to still forget parts of my lines. By now my lines should be down, however, I still have the ability to forget something, or even accidentally skip parts. The trick is not to let on that I have made a mistake, which is great, as bluffing my way through most situations is how I get through university! It is perhaps worth noting what I consider to be the most important aspect of creating a believable character, namely sustaining the believability. It’s no good making a great character unless you stay in that role the entire time on the stage. To break out of character could not only distract the audience, but also destroy the ‘illusion’ you have spent time creating.

This would be the other interesting point of tonight’s performance, namely everyone’s ability to be fully engrossed in a production that they have seen over a dozen times. As Paul pointed out, and wrote in this week’s notice board, everyone was watching the show for the first time, as if it had never been seen before. Why was this? It appears the simple addition of an audience not only changes the way the play is ‘read’ by a physical audience but also by the entire production crew. Almost the entire night, everyone off stage was either watching the performance from backstage or in the green room. I will admit it was captivating as this ‘illusion’ was indeed created. Whether it was the group’s way of encouraging each other, or hoping no one stuffs-up, or just being interested in watching the audience’s responses, it was great to see such interest in the play after weeks of rehearsals.

[i] Krusty the Clown, Episode 4F12, ‘The Itchy and Scratchy and Poochie Show’, in Chris Turner (2004) Planet Simpson, Ebury Press: Great Britain, p.1.

There was a great difference in the audiences’ attitudes today. Firstly, a small group of primary and secondary school kids that were quiet, while the second was a full house that was also extremely loud; yet both where interactive. It also surprises me the number of comments that the audience makes, namely funny and observant remarks on what they see. The rats today where told that they looked like Mickey Mouse, and that they weren’t scary. In both observations, the audience members have compared their cultural knowledge with that of the production. Does this mean they didn’t believe the show? Although the children knew it was a play, it contained real aspects. I think it was the ability to interact, which in turn created an avenue to sustain audience attention and create believability. When asked for help in the starfish scene, both performances saw children holding up their hands in an attempt to create magic; or at least participate.

It seems that it was a ‘rat day’ as I saw one audience member in the middle of the auditorium imitating the rats on the balcony. He was making gnawing motions towards both balconies, with paw like hands and a squished nose. The simple imitations of this movement show the child’s ability of interpret the performances’ of the rats, and the actor’s dominant characteristics. I even found out later there was another boy in the audience trying to perfect the Katzenellenbogen squint (funny, it sounds like a 1930’s dance move?) A child’s connection with a character demonstrates their ability to decode the performer, but not necessarily the message that the character is imparting. Perhaps the child will venture home with his friends and recreate the performance in their own space. Through this activity, the play’s message can be decoded within the security of the child’s environment.

Although the decoding of the play may not occur for all children, the play has many positive effects. In most cases, this performance could have been their first introduction to a real theatre. I feel this important cultural event adds to their already extensive knowledge, and inturn introduces them to the fun of theatre itself. It is so important for the children, and even us, to have fun. Like the kids, these are experiences that we are going to learn from; we’re not just getting a grade, but also developing our cultural knowledge. I believe our skills and approaches to university and life have changed, and these experiences will develop the way we approach life forever. It may sound like a Hallmark Card, but it is really is true.

[i] SMS to the production mobile form one of the cast members informing Val they may be a little late!

Only one performance today, but what a show! The audience was pumped, and so was the production crew. The audience was so interactive, it appeared they loved the production from beginning to end. I even saw Alexa conduct the children through an energetic exercise in the interval. It was so funny to see not only a giant lobster exercising, but also the entire auditorium joining in. It was like the children believed in the characters and physically wanted to help us.

In the final scene when Octavia returns on stage with my treasure, about five girls in the front row yelled at me; namely to inform me that she had my gold. It was great; it truly felt like a pantomime, however I struggled with whether or not to interact with them. I decided to ‘meow’ at them, thanking them in character and thus (hopefully) sustaining believability. But did they think it was real? Judging by their age, possibly not but for just over an hour, we created a world just for them and that’s got to be worth it.

The subjectivity of the audience, as I said before, ensures that an audience can interpret anything they want to. As Paula recalled, one audience member referred to her character, Bugs Abalone, as a rock. The child (even I have made a cultural assumption based on the fact the word Mum was used, therefore it was a child) had made a interpretation based on the shape of Paula’s pictured animal and produced the closest comparison to a rock; this doesn’t mean they were wrong. Even the cast can create meaning from the story presented, just like one member (who shall remain nameless…Darren) who suggested that Marilda was not my daughter, but indeed my mistress?!? Apparently I traded in Mrs Katzenellenbogen for the ‘new model’, hence, obviously my hatred towards Jan; I don’t hate the mouse, just the competition?!?!? Anyhow… subjectivity ensures any meaning, can be created; no matter how strange or wrong!

Two very good shows today, lots of great reactions from the audience. What I do really like is coming in from the top of the auditorium, walking past the audience and on to the stage. The kids today were trying to get high-fives and a meow out of me, I responded, however, consistently in character. My meow to the audience remained in character, namely angry and bitter, and any one trying to touch my fur almost received a slapped hand. It is vital that I remain in character the whole time when in view of the audience as it sustains the character believability and supports the world that the production has created for them.

Okay, confession time…I lost my pants again! I know! Costume respect is important, as the costume designers have spent most of the semester creating these items, or the items themselves are hired. In my (small) defence, on both occasions, I was taking home my shirt to be washed and I seem to forget hanging up my pants. Damaged or destroyed clothes not only create extra work for the costume department (who have already done way too much), but also could hinder the production. Major changes in costume could alter the performance, and therefore could destroy any character development or believability.

What has also been significant this week is Alexa’s antlers; funny sentence, but true. It was something discussed at the beginning of the week, namely a different position for the antlers to represent the various moods of Ms Severity. It is great because it provides the character with a further alternative for displaying emotions. It comes back to the idea I mentioned before, if your character was unable to talk on stage, how would you ‘talk’ to the audience? Alexa’s slight changes in costumes connote her character’s mood and attitude.

[i] Terri, one of the finalist on Last Comic Standing, Network Seven, broadcast on the 27^th of April 2005.

I have no reason for this quote except for the fact I really wanted to write it before the end of the semester and I am running out of time (it just made me laugh, that’s all!) One performance today, however, it was very odd. I was running completely on autopilot as I felt that I lacked any construction of my character’s emotions. I just walked on to stage re-telling the lines like I have every other performance or rehearsal, and just created the most appropriate emotions accompany them. This is problematic as I don’t want to feel like a Stanislavski actor who lives the role, yet at the same time perform on stage without any emotion whatsoever. I assume, and hope, it was because it was the end of the semester and I just needed a catnap. I’m going to guess the energy levels of tomorrow’s performance, with friends in the audience, will be through the roof!

With that in mind, this group has been fantastic. The whole ensemble, cast and crew, really work well together. There is a great friendship between a lot of individuals, including a cross over of ‘different breeds’; that’s the cast mixing with the crew…eh! The levels of respect and manners towards each other appear to be great, it’s a real thrill to be part of such a production. What I also find interesting is seeing Darren a part of this, in comparison from last year’s production.

During the last week, due to work commitments, we hardly saw Darren. This year he is performing, so I get to see a totally different side of the tutor. He still wears his ‘Tutor’ hat, and although he is joking around, he still provides assistance to those who need and ask for it. One thing I have enjoyed is hearing about Darren’s performances in the foyer for the school children entering. It really underlines the fact that performance can appear anywhere, and children’s interpretations can vary in great detail. So far, Darren has been called Mickey Mouse, a pirate mouse, a rat-mouse and even a cat. A child’s interpretation is personal, yet not incorrect. It is only incorrect when someone successfully indicates to them that they were wrong, just like the teacher from South Lakes who tried to call Darren a pirate mouse. Gee…did they yell at him!

[i] Statement by Felicity Newman in a lecture during Television and Popular Culture, Murdoch University, on the 2nd of May 2005

It was nice to get to the final performances today. It has been a long semester, yet a good one. My family came to the first performance; namely my wife, our two kids, my best friend, her two children and my mum. The interesting part was discovering how long it took for individual members to work out who I was on the stage. Bella was the first as she instantly recognised me, Hayden (my son) worked it out only when I spoke, and my Mum worked it out at the end of my second scene. Perhaps my greatest compliment came from Stan who played Zeus in last year’s Children’s Theatre. He didn’t realise it was me until the second act, for this I am humbled. My aim to create a believable character was successful, as I created a personality (that maybe only for a moment) sustained the ‘illusion’ of reality. With this in mind it is possibly important to re-review my objectives of the unit.

Objective One: Gain a knowledge of semiotic theory, (project outline: using the workshop approach (Children’s Theatre) I will explore, theoretically, relevant semiotic approaches to performance). I am very happy with my progression on this objective. After my mid-semester review, I noted a lack of focus; mainly due to School Experience, a cold and other various excuses. I finished my readings, then focused on other areas to create a variety of research that I am very proud of. I think it worked because of the variety of ideas, but more importantly because I gave them physical and practical examples. Though the examples of workshop and rehearsal experiences and observations, and even my children’s (and friends) work, I feel I have provided a developed and applied semiotic theory in many areas.

Objective Two: Develop a theoretically informed, practical model for application in performance by actors, (project outline: I will draw up a model (practically applicable) for actor-training by working with students in class and refining the method). At first, I felt at the mid-semester break I was having trouble achieving this objective. I was then reminded that my on-line journal has been a perfect example of my character development and necessary approaches, as the accessibility of my journal has ensured I have achieved this objective. I have created, applied and modelled multiple approaches to acting, and by displaying my progress on-line, my thoughts and hints have been available to interact with. In class, I have taken on a much larger role that last year by acting as a mini-tutor to students requiring assistance and approaches along the way; even staging a coupe with the Dutch.

Objective Three: Develop my actor-training skills, (project outline: I will offer both a written critique of the value for actors of the model and my own practical/performative deployment of the model). As previously mentioned, my on-line journal is possibly the best example of achieving this objective. By modelling and implementing a semiotic approach, I have attempted to improve my own acting methods. Through the introduction of weekly hints and constant self-critiquing, I believe I have meet this objective and indeed developed further skills I was not expecting to employ. Although I was not critiqued on the construction of the website, its construction was important as it also developed my computer skills. Although not sounding instantly connected to actor-training skills, it is important, as it has improved my future teaching skills. Although not acting, my eventual approach will be used in schools, so any interaction with computer and self-development is useful.

It has been particularly intimidating this year to live up to my work from last year. My almost perfect journal and solid performance were quite a hard act to follow. Not only do I feel quite pleased with my final outcomes, I feel I have developed in many areas. My leadership skills, computer confidence and all round skill development have been great. More importantly, the opportunity to meet and learn from all of the individuals associated with this year’s production has been significant. I always go back to what I said at the beginning of the year, Children’s Theatre is more than a unit. It changes and improves your outlook on theatre, learning and life in general. Perhaps then, Children’s Theatre isn’t a unit, it is a lifestyle.

[i] The question that Darren and I were asked at the supermarket by a fourteen year old cashier. Yeah I know?!?

(On Saturday, Hayden and Jessica get a closer look at Katzenellenbogen. Look kids it Daddy!)

I can't thank you enough for your astonishing contribution to this year's production. Your Katzenellenbogen was a riot, but you gave on so many different levels, every one crucial to the process and the ultimate performance.

Merci beaucoup, as the French say ...

View other 'Semiotics and Performance: The Role of the Actor' journal entries...